FLESH ON GLASS

Australia, 1981, 40 minutes, Colour.
Directed by Ann Turner.

Flesh on Glass was a final year short feature made by writer-director Ann Turner at Swinburne Institute. It is an interesting exploration of relationships, sexuality, relationships between women - using metaphors from religion, especially the Catholic church and nuns.

The film was well-acted, uses Melbourne and Victorian countryside locations well. It probably has too much plot - the delineation of characters, their interrelationships, the crisis for the central character including the influence of her mother, her decision to become a nun, her leaving the convent, her yearnings for her sister-in-law.

This is one of the few films to explore religious " metaphors in Australian cinema so explicitly. A comparison might be made with the works of Michael Lee, Mystical Rose, his critical reflection on his upbringing as a Catholic and Turnaround, his film about his rediscovery of God and religion.

1. The impact of the film as a short story? Character study? Exploration of themes? The work of a film student?

2. The use of Melbourne locations, the countryside? The house and interiors, beach locations? The flashbacks and the dreams? Reality, dream reality? Musical score?

3. The title and indication of themes: flesh with its sense and sensuality and warmth? Glass and its brittle beauty, cold? Class as encapturing shapes and forms? Class as gift? The use of flesh and glass throughout the film: the touching of the glass for the occult experience, the touch of the statues, Kate's mother swallowing glass, drinks, the smashing of glass? 'The glassmaker is too excitable?

4. The atmosphere of the film and its opening with Kate as a nun, with the Rosary beads, her incantatory prayer? The use of religion as reality, superstition? Metaphor? Traditions of piety, intensity of prayer? Devotion and madness? The board and the glass, the discovery of Pamela and Ruth, their being in hell, love? The cry for help? Love of flesh as the ultimate sin? The possession of Kate by Pamela and its effect on her? Kate in herself, the experience of the possession, her living out Pamela's love? Pamela's love as a symbol of her own? The theme of sisters - in religion? Community? The visit to the convent, the discussion with the old nun and the discussion about the cemetery, Sister Pamela and Sister Ruth? The memories and dreams about the sinful nun being put in the cave, being walled up? The nuns and their breaking stone in the barren landscapes? The final brick? Kate being seen as Pamela, removing her veil, cutting her hair, and as the nun putting in the final brick? The atmosphere of mystery, dream and nightmare? Sexuality and prayer? Love of God, love of others? Kate and her making a decision to enter the convent, moving towards vows and her experience of doubts, the old nun bringing Aggie's letter? Its effect on her? An affirmation of love? The Superior giving her her name, Sister Ruth - at the suggestion of her brother? Her running away, the incongruity of the nun in old robes on the road, hitch-hiking? In the city, the phone call? Breaking free, taking off her convent clothes, putting on the modern clothes - and resuming life in the world and becoming free? The film's comment on religion in Australia, explicit religion, the churches? Tradition, superstition, repression? Odd and quaint aspects? The individual? Relationships? As a context for the lesbian relationship? The sexuality, mud and laughter? Guilt and punishment? Exorcising the spirit of the nun? The reference to Catholic themes – or metaphors for religion in general?

5. The title of the film and its relationship with Kate? Her past, her relationship with Hal, her 8th. birthday and taking his present and her selective memory? The holiday, her relationship with Aggie, the seductive manoeuvres in their relationship, the throwing of the bread, the gift, the kiss, the sharing? The visit to the convent together? Her response to Aggie's impulsiveness? The sensuality of their physical encounter, the mud, the laughter? The transition to her praying? The effect of the convent experience, Aggie's letter as an urge to leave and join her? Aggie's betrayal, Kate's anger and her smashing the glass? Achieving a freedom? The importance of the flashback, herself as a child, the same actress taking the part of the mother? The smashed glass, her picking it up, her mother swallowing it? The suicidal attitudes of her mother, being in the institution? Her falling in love and her husband tormenting her? Would Kate follow in her way - or break free?

6. Marriage: the mother's marriage and its failure, suicide attempts, withdrawal and madness? Hal and Aggie, their laughter, warmth, sharing, banter, the sexual relationship (and Kate hearing the noise and turning the light out)? Hal and his relieving as a doctor? Aggie as impulsive? Hal's reaction to the two women in the mud? Laughter - humour, nervousness? Aggie's pregnancy and the warning about drinking? The baby? Aggie's letter to Kate, her hesitating while packing to go, the visit and her formality, her mothering of Rebecca, her holding the dog most primly? Opting to be satisfied, on the whole, in marriage?

7. The occult experiences, the board, the glass, done in fun, serious repercussions, the effect on Kate and her being possessed, Aggie and her involvement, detachment, Hal taking it seriously? The name of Sister Ruth?

8. The environment, the countryside, the beach and its beauty, ruggedness, shoes off, footsteps in the sand. freedom? The convent beauty with its ordered gardens and bridges? Corridors? The sequences in the Melbourne streets, shops? Reality? The fashionable home, railway stations, the trains? Kate's return to the locked house, the freedom of the open beach?

9. The communication of themes within a short story framework, via narrative and symbolic images?